Working with subtle optical deception, color and refraction serve as key elements in my painting. I paint on both sides of translucent surfaces (such as sandblasted glass), in order to allow ample visibility of underlying painted marks. My reductive vocabulary results from paint vigorously applied with flat-edged implements. Controlled with a stiff brush, it is also decisively removed. An editing process takes place as I differentiate between the invisible, giving it as much emphasis in my work as the visible. Only with movement can the paintings be fully appreciated—edges dissolve and halos appear on and below the surface. Arranged in lateral or vertical sequences, paintings can read directionally, almost like text, functioning collectively or as individual pieces. Using observations taken from the natural world, I develop personal visual codes that allude to taxonomies, alphabets, and other textual listings.